THE DIARY OF Z

The success of ‘3 Idiots’ has planted the seed of change in the minds of many people.  The ideas and value system of Aamir Khan’s character can be taken to address several issues that need a fundamental change.

During the IBN7 Bajaj Allianz Super Idols awards, Khan honoured 18 people who have achieved success despite being physically disabled.  Khan said, "Our society barely thinks about the physically handicapped people. It’s necessary. There should be proper infrastructure - be it buildings, theatres, roads - everywhere so that they can too have a comfortable access to every places like a normal person does”. 

According to a recent survey done in Pune, 80 per cent of government and semi-government buildings are not disabled-friendly.  Perhaps with the kind of change a movie like ‘3 Idiots’ has inspired, we can start to improve our infrastructure to accommodate every individuals rights.

Contributed by Prachi Jain

3 Idiots is continuing its dream run. Realistic, funny and with an accent on thinking out of the box, the film deserves all the moolah it’s making. At last count, the Indian box office collections stood at Rs 185 crore after tax. A box office record, making it an all-time blockbuster, even beating the likes of Ghajini, Gadar and Hum Aapke Hain Kaun.

While it’s hard to pin point reasons for its monumental success, some of the reasons for its fantastic opening include:

1. Aamir Khan’s marketing wizardry: In industry circles, he is being called ‘god’ and a marketing maverick. With good reason. The way he disguised himself and played tricks on the ‘aam junta’ and celebrities alike made many heads turn and filled so many column spaces in newspapers and sound bytes on TV channels.

2. The script is king and with a director like Rajkumar Hirani of Munnabhai fame, the story could relate to just about anyone, class and caste no bar. It was as much a multiplex film as it was a single screen film. As much a success in urban and rural areas.

3. The casting was apt. Everyone did their job well. From eccentric professor Boman Irani to the room boy to Sharman Joshi and R Madhavan to even Kareena Kapoor. Very few films have the best cast and crew. Sample this one. It had No 1 director Hirani; No 1 actor Aamir; No 1 actress Kareena and No 1 producer Vidhu Vinod Chopra.

4. Ladyluck is on Aamir’s side for the last two years. Sample Taare Zameen Par, Ghajini and now 3 Idiots. Everything he touches turns to gold. Midas touch!

Just when I thought there’s nothing original under the sun, there comes a case which is not only original, but has been stolen by somebody else who calls it their own. It’s called an ‘idea theft’. And it’s rampant in the TV and film industry.

But I didn’t know that an acclaimed film director like Anubhav Sinha (Tum Bin, Dus, Cash) would steal an idea, cast Shah Rukh Khan in the film, and call the story his own. Apparently, Sinha’s wife Ratna heard of the horror story first from Mrinal (Who has written, produced and directed such shows as Dulhann, Mano Ya Na Mano, Movers & Shakers, Kahiin Kissii Roz). But nothing happened. Mrinal Jha, in the meanwhile, had also brought out a book of her story called The Prayer, that became an instant hit on Amazon.com. Promising a money-back guarantee to any reader if the book doesn’t scare, her publishing house, Undercover Utopia, did good business.

Today, things are a bit muddy. Mrinal’s husband Abhigyan, who partners her in the publishing venture, is looking at ways to get his pound of flesh if only to send the right signals to the TV and film industry that you can’t steal an idea and get away with it.

Here are some links that will help you better understand this case.

LINK 1: SRK’S PRODUCTION HOUSE TO MAKE COSTLY FILM
The bottom of the link outlines the premise of the film being made with SRK in the lead.

LINK 2: http://undercoverpro.abhigyanjha.com/theprayerbook.php#theprayerglimpses
This is the premise of ‘The Prayer’ by Mrinal and Abhigyan.

LINK3: AMAZON REVIEW OF THE PRAYER

This was written by Anubhav’s wife after reading ‘The Prayer’. She had met Mrinal for a script session and was apparently so terrified after reading The Prayer that she took refuge in Archie comics before she went to sleep. What’s more, she ends her Amazon comment with a wish that the book’s story be made into a film soon.

PS: Anubhav says he’s making this film at a budget of Rs 100 crore. Can’t he atleast ‘buy’ the story that’s helping him make his magnum opus a reality?

Just when I thought there’s nothing original under the sun, there comes a case which is not only original, but has been stolen by somebody else who calls it their own. It’s called an ‘idea theft’. And it’s rampant in the TV and film industry.

But I didn’t know that an acclaimed film director like Anubhav Sinha (Tum Bin, Dus, Cash) would steal an idea, cast Shah Rukh Khan in the film, and call the story his own. Apparently, Sinha’s wife Ratna heard of the horror story first from Mrinal (Who has written, produced and directed such shows as Dulhann, Mano Ya Na Mano, Movers & Shakers, Kahiin Kissii Roz). But nothing happened. Mrinal Jha, in the meanwhile, had also brought out a book of her story called The Prayer, that became an instant hit on Amazon.com. Promising a money-back guarantee to any reader if the book doesn’t scare, her publishing house, Undercover Utopia, did good business.

Today, things are a bit muddy. Mrinal’s husband Abhigyan, who partners her in the publishing venture, is looking at ways to get his pound of flesh if only to send the right signals to the TV and film industry that you can’t steal an idea and get away with it.

Here are some links that will help you better understand this case.

LINK 1: SRK’S PRODUCTION HOUSE TO MAKE COSTLY FILM
The bottom of the link outlines the premise of the film being made with SRK in the lead.

LINK 2: http://undercoverpro.abhigyanjha.com/theprayerbook.php#theprayerglimpses
This is the premise of ‘The Prayer’ by Mrinal and Abhigyan.

LINK3: AMAZON REVIEW OF THE PRAYER

This was written by Anubhav’s wife after reading ‘The Prayer’. She had met Mrinal for a script session and was apparently so terrified after reading The Prayer that she took refuge in Archie comics before she went to sleep. What’s more, she ends her Amazon comment with a wish that the book’s story be made into a film soon.

PS: Anubhav says he’s making this film at a budget of Rs 100 crore. Can’t he atleast ‘buy’ the story that’s helping him make his magnum opus a reality?

Entertainment knows no barriers. What’s more, if done right it can bring two war-torn nations closer. That’s what has happened today. The critically-acclaimed Pakistani film, Khuda Ke Liye, is being screened from today in Indian theatres.

This is the first time a Pakistani film has been released in India after 43 years. Quite a feat. With this move, Indians will get to sample the best of the Pakistan film industry and vice versa. Already, Bollywood blockbuster films like Welcome and Taare Zameen Par have been released in Pakistan. Now, it’s the turn of India to return the favour. And what best way to do it than with this truly spectacular film (I watched it in January at the Suchitra International Film Festival in Bangalore). This Shoaib Mansoor directed film deserves all the accolades. If you don’t believe me, just watch the film.

What’s even more heartening is that this trend will foster better ties between the two nations who have never seen eye to eye on any issue. With more and more Pakistani films crossing the border, many wrong perceptions and biases will be laid bare. And this will only make both the nations stronger, healthier and wealthier.

The only people to worry are the terrorists of the world. They belong to no religion, caste, creed, colour or nation. They belong to ‘Unbelong’. That’s their religion. That’s their credo. The bigger tragedy is that they will end up dying for nothing.

If you want my review of this pathbreaking film that won a ’special jury award’ at the 31st Cairo International Film Festival in December last, read Khuda Ke Liye.

Cape Fear

128 mins, 1991; Director: Martin Scorsese

With this film, Robert De Niro gave a new definition to ‘menacing screen presence’ in Hollywood. As a tattooed revenge-seeker for a case wrongfully won by attorney (Nick Nolte) that forces him to serve jailtime, Niro makes it his mission in life to get back at Nolte, his way. And what’s that? Stalking Nolte’s family, poisoning his dog, brutally assaulting his close friend, and sexually harassing his daughter, Danielle (Juliette Lewis). Lewis gave such a stirring portrait of a terrified victim that she was nominated for the Oscars. And so was Niro. The opening title sequences are one of the best and so is the cinematography throughout the film’s journey - the camera movement and angles get you involved with it like nothing else can. This movie aims for your gut. Definitely not a film for the squeamish.

Memento

116 mins, 2001; Director: Christopher Nolan

Watch this film for Guy Pearce’s first-rate performance and Nolan’s skill in creating an atmosphere for the story. Pearce has just one mission in life: to avenge the rape and murder of his wife. But he has a small problem. He suffers from an irreparable memory loss. Although he can remember details of life before his ‘accident’, Leonard can’t remember what happened fifteen minutes ago, where he is, where he’s going or why. This makes his job all the more difficult. This prompts him to re-build his life out of index cards, photographs, file folders, charts and tattoos. It’s intellectual gamesmanship at its best and Memento is likely to stay with you like a tattoo on your mind. Most of all, this is virtuoso filmmaking, stylistically dazzling and head-scratchingly intricate. It’s actually a puzzle movie in which the puzzle is actually worth the time and effort to solve.

L.A. Confidential

138 mins, 1997; Director: Curtis Hanson

Crooked cops. The mystery and allure of Hollywood in the ’50s. Death, double-crossing, and secret alliances. Paparazzi waiting to get that one million-dollar picture. A riveting crime story about the shadowy side of city life where things are never what they seem. All these contribute to a movie that’s unusually delicate, understated and searching - a movie that catches us up in the faded ’50s beauty of Los Angeles. The premise is simple enough. Three detectives (Kevin Spacey, Russell Crowe, and Guy Pearce) each use their own tactics to investigate a coffee-shop massacre. But this multiple homicide charge eventually becomes something much more insidious. Strong performances, an involved story and period atmosphere, with liberal doses of sex, violence, corruption and politics make this one hell of a crime drama. In fact, it’s Hollywood moviemaking at its finest- a classy piece of entertainment made with equal parts passion, style, and fun.

Seven

127 mins, 1995; Director: David Fincher

Forget the brief opening scene. Instead, watch out for the highly stylised title sequence. It’s an intricate collage of books and photos, scissors and razors, and blood and skin that eerily captures the dark, graphic tone of Fincher’s intriguing mystery. Shaky camera shots, dark sets and a disturbing script that takes its characters to the extremes of emotion contribute to the film creating an unsettled feeling that stays with you long after the credits roll. When an obese man is found brutally murdered in his home, retiring police detective Somerset (Morgan Freeman) realises this is no ordinary killing - someone tortured him because of his appetite. One killing follows another and forms a pattern. This prompts Somerset to team up with newcomer Mills (Brad Pitt) to find the mysterious John Doe, who is responsible for these murders. It’s an eerie suspense film with a surprise ending that gives you quite a jolt.

Khuda Ke Liye

120 mins, 2007. Director: Shoaib Mansoor

A stirring portrait of today’s terror-driven times, this Pakistani film scores in many departments. There’s some great background score, eye-opening cinematography and an engaging plot. That the actors do justice to the role made director Shoaib Mansoor’s job even easier. Set in Chicago, New York, Afghanistan and Pakistan, it chronicles the life of a non-resident Pakistani trapped by a father who wants her to marry a Pakistani, even though she’s set her sights on a British lad. A conniving father takes her to Pakistan on the pretext of going back to his roots only for a fortnight, but ends up ganging up with a few fundamentalists who hold her captive in Afghanistan. At no point is the film one-sided. The pace is racy, and is anything but boring. And there’s a message, too: You have a choice to either follow an age-old custom or march to the beat of your own drum.

Buffalo Boy

102 mins, 2005. Director: Minh Nguyen-Vo

This Vietnamese film takes you to a very different world from your secure all-too-familiar territory. It’s a place where there’s water everywhere, but no water to drink. And 15-year-old Kim’s job is to herd two water buffaloes to higher ground for fodder. However, only one returns as the other succumbs to flooding. A quarrel with his father and Kim finally decides to work for another farmer. Along the way, he meets several people who bear an influence on his growing up years. Will he finally assert his freedom? Or will be go back to his roots? Watch it for its visual template. You don’t even have to read the subtitles to know what the story is - the cinematic imagery conveys the mood and tone of the story pretty well. No wonder, it won four awards at several international films festivals, including Chicago and Locarno. A must-watch for any movie buff.

The Lives of Others

137 mins, 2006. Director: Florian Henckel von Donnersmarck

One Oscar. 45 wins and 24 nominations. That about sums up the credentials of this nail-biting political thriller from Germany. Set in East Berlin of 1984, it takes us through the fall of the Berlin Wall and finally to 1991’s reunited Germany. While you get a lesson in the Nazi history, you get to savour the drama that unfolds through the eyes of Captain Gerd Wiesler (Ulrich Mühe) of the Stasi, East Germany’s all-powerful secret police. He’s been assigned by his boss to keep a constant check on a celebrated writer and actress couple, Georg Dreyman (Sebastian Koch) and Christa-Maria Sieland (Martina Gedeck). That’s what happens in dictatorial regimes, when freedom is taken away from many and only given to a few. The film resounds with this theme throughout as one man decides to mix his personal and professional agenda to further his own objectives. With a razor-sharp script that doesn’t waver, it’s the film’s singular focus that keeps you belted to your seat.

Yesterday

96 mins, 2004. Director: Darrell Roodt

An HBO original film, it is the first South African film to receive an Oscar nomination (in the category of Best Foreign Language Film). Set against the awesome, harsh landscapes of South Africa, it is an eloquent, unsentimental film that quietly builds an overwhelming emotional force. It’s about Yesterday, a 30-year-old mother living in a remote village in South Africa’s Zululand. Her life isn’t easy; there’s little money and her husband is away in Johannesburg working as a miner. However, with her ready wit and her seven-year-old joy - daughter Beauty – she navigates her life until one day she discovers that she is threatened with AIDS. Watch it for the riveting performance by Leleti Khumalo who plays Yesterday. The film shows the commitment of the private sector to move beyond the conventional HIV/AIDS rhetoric. Yesterday was an official selection of the 2004 Venice Film Festival and Toronto International Film Festival, among other festivals around the world.

 (This piece appeared in Windows & Aisles, the inflight magazine of Paramount Airways, South India’s business airline)

The Fugitive

131 mins, 1993. Director: Andrew Davis

What makes this movie tick is the dynamic between Tommy Lee Jones and Harrison Ford who have acted to steely perfection. In hindsight, they happen to be the most adorable cop-fugitive couple in Hollywood history. In this near-perfect suspense movie adapted from the popular 1960s television series that starred David Janssen, renowned vascular surgeon Dr Richard Kimble (Harrison Ford) has been falsely accused and convicted - on circumstantial evidence - of his wife’s (Sela Ward) murder. The bizarre circumstances that led to the death only sweeten the suspense. It’s a consummate nail-biter that never lags. In fact, it leaves you breathless from the chase yet anxious for the next bit of mayhem or clever plot twist. Nominated for three Academy Awards, The Fugitive is one of the most exciting and thrilling action movies ever made. Spectacular special effects and a pulse-pounding performance turned this film into a blockbuster, leading to a sequel, U.S. Marshals.

The Departed

151 mins, 2006. Director: Martin Scorcese

Leonardo Di Caprio as undercover cop William Costigan is pitted against Matt Damon as undercover mobster Colin Sullivan. Both get into plenty of nail-biting situations that almost reveal their true identities. Rolling Stones songs pepper the soundtrack; bullets and blood punctuate every key scene; and the mobster-themed storyline is a thrilling return to ‘Goodfellas’ territory. When it’s a Martin Scorsese film, expect perfection in just about every department of filmmaking. From impeccable casting (Di Caprio, Matt Damon and Mark Wahlberg give their career-best performances) to astute editing and memorable one-liners, this tightly-wound undercover cop vs. crooked cop drama is not only his meatiest movie in years, it’s also his personal best at the box office. What’s more, this film also got him his first Best Director Oscar. Nicholson and Winstone provide acting master-classes every time they appear. This film is a model of what directing is when craft rises to the level of art.

Reservoir Dogs

100 mins, 1992. Director: Quentin Tarantino

Tarantino has a gift for writing great bursts of caustic, quirky dialogue and it shows in just about every crucial frame in his unforgettable debut film. It’s an audacious high-wire act about a group of perfect strangers who have been assembled to pull off the perfect heist. Meticulously planned, nothing can go wrong. But it turns into a bloody ambush when one of them turns out to be a police informer. As the group begins to question each other’s guilt, the simmering tensions threaten to explode the situation before the police have a chance to step in. Even former video store clerk Tarantino didn’t know his debut film will turn out to be a brutally funny, supercharged introduction to his supremely distinct cinematic vision. Boldly blending graphic violence with satirical references to popular culture, Reservoir Dogs ushered in an often-mimicked style of filmmaking in the 1990s.

The Usual Suspects

106 mins, 1995. Director: Bryan Singer

This film is an intricately plotted and suspenseful tale about five very different crime suspects (played by Gabriel Byrne, Kevin Spacey, Benicio Del Toro, Kevin Pollak, and Stephen Baldwin) who meet while in a police line-up. After the quintet’s fortuitous encounter, they decide to band together and attempt their own big heist by robbing a smuggler of $3 million worth of emeralds. However, their success brings them to the attention of the enigmatic Keyser Soze, an unseen, nefarious, and mythic underworld crime figure who coerces them into pulling off an important and highly dangerous job. The scenes that follow make The Usual Suspects one of the most fascinating crime thrillers in cinema history. Director Bryan Singer adroitly tells the complex story through flashbacks, cross-cutting, and voice-over narration. Such nimble handling of the intricacies of the nonlinear narrative adds to the suspense, leaving viewers on the edge of their seats until the clever, satisfying finale.

 (This piece appeared in Windows & Aisles, the inflight magazine of Paramount Airways, South India’s business airline) 

Love Actually

135 mins, 2003. Director: Richard Curtis

If you want laughs laced with feeling, this movie is for you. It depicts the serious and foolish side of love with a series of sweetheart stories. Little boy falls in love with a little girl and becomes a rock drummer. Writer falls for his maid and doesn’t care when his book gets ruined. The Prime Minister tells off the President of the US and then falls dropdead in love with a member of his staff. Multiple plot lines carry the movie forward, some funny, some sad, but all to the accompaniment of some great music. The underlying message? Love, actually is, all around, but sometimes love doesn’t work out. Trite and contrived it may be, but it’s undeniably sincere and polished in its delivery. The film scores because of its light-on-its-feet casualness. Love Actually makes you feel like there still might be hope for all of us. Stars Hugh Grant, Rowan Atkinson and Keira Knightley.

Notting Hill

124 mins, 1999. Director: Roger Michell

Julia Roberts and Hugh Grant forge memorable chemistry in this charmer about two very different people - William, an unassuming bookstore owner in London’s Notting Hill section, and Anna, a Hollywood actress - who, against the odds, fall in love. After Anna wanders into William’s shop while filming on location in London, the two share an instant attraction and find themselves attempting to forge a normal relationship despite Anna’s megawatt star power. Some of the funniest moments in the film come from Rhys Ifans, who portrays Spike, William’s not-so-bright roommate. His screen presence is outrageous and he gives the film some of its funniest moments. The movie is surprisingly frank in its depiction of the lives of the rich and famous and the price they pay for success. Notting Hill doesn’t just refresh. Its deadpan wit, ingenious fairy-tale premise and superbly accomplished cast will leave you feeling positively oxygenated.

50 First Dates

99 mins, 2004. Director: Peter Segal

Scatological and sentimental, satirical and sincere, this film pairs Adam Sandler with Drew Barrymore to showcase the power of love and short-term memory loss in Hawaii. Henry Roth (Sandler), the local veterinarian, only dates tourists because he’s afraid of commitment, until he meets Lucy (Barrymore). Unfortunately, Lucy lost her short-term memory months ago in a car accident, and for her, each day is October the 13th. She follows the same routine every day - breakfast at the same restaurant, pineapple-picking with her dad, and eventually bed time, where sleep wipes away her short-term memory. Will Henry make Lucy fall in love with him every day? Though the story line appears contrived and stretches the limits of believability, what sticks out is the hard-to-resist goo-goo chemistry between Adam Sandler and Drew Barrymore. They make the film not only romantic but also very funny. A must-watch.

Music and Lyrics

105 mins, 2007. Director: Marc Lawrence

The film is on a song right from the first sequence. Watch it for Grant’s irresistible screen presence, amusing dialogue, and some great acting. It’s got that certain something you noticed in Notting Hill and Pretty Woman. It’s witty and intelligent in the same frame, making it a sweet enough V Day confection. Maybe it’s to do with the candy floss chemistry between Hugh Grant (a fading pop singer) and Drew Barrymore (a goofy plant sitter who ends up writing his lyrics). Maybe it’s the lyrical quality of the film that enchants you with its symphony – it’s unexpectedly catchy and yet so indulgently believable. Or maybe it’s just puppy love that the protagonists share for each other in this undeniably breezy romantic comedy. Any way you look at it, Music and Lyrics is a story that will linger on you long after it’s over.

(This piece appeared in Windows & Aisles, the inflight magazine of Paramount Airways, South India’s business airline)

The Incredibles

115 mins, 2004. Director: Brad Bird

Pixar is synonymous with quality and this film is a testimony of that. It’s about a family of undercover superheroes trying to live the quiet suburban life but forced into action to save the world. There’s lots of humour and silliness for the kids and some clever pop-culture references for adults. Watch it for its extremely sharp writing and plotting (rewarded with a Best Original Screenplay Academy Award nomination), excellent voice acting, extraordinary conceptual design and, most importantly, the audacity to break from the mould and do something different. There are no talking fish, no talking bugs, no talking toys. It’s a real movie with real heart told with extraordinary skill and style. You don’t have to be a child or a parent (I myself am neither) to love this film.

Office Space

91 mins, 1999. Director: Mike Judge

This film makes you laugh until you cry. It’s also cathartic to those of you who have to work to make a living. Watch it for its wily, inventive workplace humour that’s a scream in its finest moments and consistently amusing otherwise. Starring Jennifer Aniston and Ron Livingston, it gained instant cult status for its unabashed caricatures of office personalities, and its theme of corporate sabotage. Anyone who’s recently spent any time chained to a desk will probably find this just the right thing to rewind, reboot and restart. Ruthlessly funny stuff, so relentlessly acerbic that it makes Dilbert seem downright reverential by comparison. You can check your brain at the door and still get a good laugh from Office Space, or you can hold on to your brain and get an even better laugh. One statutory warning: you can identify with most of the characters in the film.

Dude, Where’s My Car?

83 mins, 2000. Director: Danny Leiner

If you are looking for something which requires little thinking, and will make you laugh, give this movie a chance. It may be silly but dude, it’s effective. There are enough funny moments littered throughout the movie to make you forget about the lack of an in-depth storyline. The vast majority of jokes are crude and well managed by the leading pair (Seann William Scot and Ashton Kutcher). There are some really funny moments including a rendition of Jurassic Park, but with ostriches instead of dinosaurs. Dude’s comic formula is simple: throw the dudes in one bizarre situation after another and watch them goof their way out. Given the movie’s PG-13 rating, it all lands on the lighter side of the teen-comedy spectrum, and if angry ostriches, donut-loving cops, a 50-foot bimbo in a miniskirt, and a pot-smoking dog sound like a good combo, Dude is just for you.

Forrest Gump

141 mins, 1994; Director: Robert Zemeckis

Warm, wise, and wearisome as hell. Tom Hanks plays Forrest Gump, an educationally challenged soul who serves his country without hurting a fly; he saves his comrades in Vietnam, woos the dippy Jenny (Robin Wright), and runs back and forth across the continent. Hanks does his best to convince us that Gump is, in fact, a character, and not merely a bulging sack of virtues, but the movie takes the fight out of him. The director, Robert Zemeckis, is no slouch, as he proved in the ‘Back to the Future’ trilogy, where he invented his own brand of smart, critical nostalgia. Here, however, the whole film is tuned up to Gump’s pitch of gentle sweetness. The visual effects are neat enough, with Hanks showing up in old footage of Kennedy and L.B.J. it’s an endearing film that will remain with you long after the credit lines roll.

The Mask

97 mins, 1994. Director: Chuck Russell

Goofiness can be its own reward. This film shows you how. Jim Carrey plays a boring bank account officer Stanley Ipkiss who never speaks his mind about anything. One day, he finds an enchanted mask and he goes from ‘zero to hero’. With the mask, Stanley gets the courage to do everything he’s ever dreamed of, including woo blond bombshell Tina Carlyle (Cameron Diaz). With his sparkling, silly grin and his true talent for physical clowning, Carrey comes as close to being an animated creature as a live actor ever could. Carrey also has a bright and likable screen presence, a lost puppy quality that is surprisingly endearing. It is definitely one of Carrey’s best suited films, capturing his ability for improvisation and combining it with superb special effects. If you want to see a comic fireball in a tour de force display of physical antics, this film is just for you.

(This piece appeared in Windows & Aisles, the inflight magazine of Paramount Airways, South India’s business airline)